fala   Portugal   Despite the limited space of the site and the regulations, the project generates complex interior spaces that emerge from the peculiar intersections with the different levels. The white piece is covered with marble dots and lines, crowned by pink chi

fala   Portugal   Fifteen equal but different apartments inside a predefined volume; a variety of formal gestures, flying columns and double height spaces alter the rational distribution of the program. The three facades have different expressions...

fala   Portugal   Layers of lines and dots are vigorously wrapped around a narrow and tall urban building. A system of concrete columns crosses all levels, allowing for different spatial narratives but maintaining a physical coherence. Glass brick walls and doors defi

Eduardo Souto de Moura   Portugal   The block goes up on one of the most typical streets of Foz do Douro, a traditional quarter by the Douro’s estuary. The building is a freestanding volume housing three apartments with a communal terrace on the roof, a commercial space on ground floor

Eduardo Souto de Moura   Portugal   Located in the old harbor area of the city of Porto, the residential building takes up a narrow plot facing the Douro River estuary. The project explores the idea of stacking, conceptually superimposing three concrete boxes containing the apartments.

depA Architects   Portugal   The new pavilion of the Serralves Foundation, designed for audiovisual projections, is to be understood in spatial and geometric terms as an extension of the museum. Its volume is extracted from the main building and its material makeup is modified t

Álvaro Siza   Portugal   Designed and partially built in the decade of the 1970s as part of the program of the organization known as SAAL (Servicio de Apoio Ambulatorio Local), the project’s objective is to provide housing for an established community on an adjacent site. Cr

Álvaro Siza   Portugal   Three isolated but articulated buildings contain the residence, workshop, and multipurpose hall of the house for the painter Armanda Passos, located on Gomes da Costa avenue in Porto. To counteract this fragmentation, a continuous gray granite plinth

Álvaro Siza   Portugal   The four semi-detached houses, wrapped in white surfaces with straight lines, are interspersed with the single family houses flanking Avenida da Boavista on its path to the sea. Symmetrically distributed, each one of the houses closes up in the trans

OMA - Office for Metropolitan Architecture   Portugal   Despite the attempts to escape the shoebox-shaped auditorium, experience shows that this type of concert hall offers the best acoustics. In this case, the design chosen reinterprets the type, redefining the relationship of the concert hall with the e

Eduardo Souto de Moura   Portugal   The building is located in the gardens of a neoclassical style house of the early 20th century in Porto. So as not to alter the historical identity of the precinct, the new structure occupies a perimeter position, replacing the enclosure wall with tw

Michele Cannatà   Fatima Fernandes   El proyecto del metro ligero de Oporto ha establecido nuevos horizontes y nuevas posibilidades en los modos de intervención de la arquitectura contemporánea. Sin campañas publicitarias sensacionalistas, Eduardo Souto de Moura ha dado forma en pocos a

Nuno Grande   En octubre de 2003, Paulo Mendes da Rocha visitó entusiasmado la ‘osamenta’ en construcción de la Casa da Música, la nueva sala de conciertos que el holandés Rem Koolhaas ha proyectado para la densa y granítica ciudad de Oporto. Al final de un largo

Rafael Moneo   ‘‘Architecture is not a pre-established language, nor does it establish a language,” Alvaro Siza Vieira once said. Why do l choose this statement to begin my commentary on his work? Because in my view it offers many keys to understanding Siza's archi

Laurent Beaudouin   Time and motion as elements of spatial perception; geometry as a way of revealing geography; urban schemes taken as natural landscapes; scale and repetition as indicators of a collective: these are the patent features of Álvaro Siza’s work. Laurent B

Vittorio Gregotti   Álvaro Siza’s projects in their final presentations always reveal traces of the creative process that has generated them, over and above his painstaking work of depuration and synthesis. It is such complex network of practically invisible signs that

Kenneth Frampton   Álvaro Siza’s work has always adhered to that delicate point of balance whereby, without renouncing a continued exploration of the linguistic references belonging to the architectural discipline, he easily adapts to the conditions imposed by the prog